front cover of Feeling the Future at Christian End-Time Performances
Feeling the Future at Christian End-Time Performances
Jill Stevenson
University of Michigan Press, 2022
The End is always near. The Apocalypse has sparked imaginations for millennia, while in more recent times, highly publicized predictions have thrust End-Time theology briefly into the spotlight. In the 21st century, fictional depictions of various apocalyptic scenarios are found in an endless stream of films, TV shows, and novels, while real-world media coverage of global issues including climate change and the migrant crisis often features an apocalyptic tone. Feeling the Future at Christian End-Time Performances explores this prevalent human desire to envision the End by analyzing how various live End-Time performances allow people to live in and through future time.

The book’s main focus is contemporary Christian End-Time performances and how they theatrically construct encounters with future time—not just images or ideas of a future, but viscerally and immediately real experiences of future time. Author Jill Stevenson’s examples are Hell Houses and Judgement Houses; Rapture House, a similarly styled “walk through drama” in North Carolina; Hell’s Gates, an “outdoor reality drama” in Dawsonville, Georgia; Ark Encounter, a full-size recreation of Noah’s Ark; and Tribulation Trail, an immersive thirteen-scene drama ministry based on the Book of Revelation. The book’s coda considers similarities between these Christian performances and secular survivalist prepper events, especially with respect to constructions of and language about time. In doing so, the author situates these performances within a larger tradition that challenges traditional secular/sacred distinctions and illuminates how the End Times has been employed in our current social and political moment.
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front cover of Sensational Devotion
Sensational Devotion
Evangelical Performance in Twenty-First-Century America
Jill Stevenson
University of Michigan Press, 2015
The various media genres involving evangelical performance may seem tangential but are in fact significant and influential cultural products employing sophisticated tactics to reach large audiences of firm believers, extreme skeptics, and those in between. Sensational Devotion  examines contemporary Passion plays, biblical theme parks, Holy Land recreations, creationist museums, and megachurches in order to understand how they serve their evangelical believer-users while also shaping larger cultural and national dialogues. The book examines how performative media support specific theologies and core beliefs by creating sensual, live experiences for those who use them. Because they often appear in accessible, familiar forms (such as theme parks) and employ pop culture motifs, a wide range of people—including those hostile toward Christianity or religion generally—are often willing to “try out” these genres, even if only for curiosity’s sake. This familiarity not only helps these genres achieve their goals, but it also enables them to contribute to public dialogue about the role of religious faith in America. The book demonstrates the unique ways in which these genres, which certainly reflect religious belief, also simultaneously make religious belief.

Jill Stevenson explores evangelical performance across a range of media and sites, including film, television, theater, tourist attractions, museums, and places of worship. Using historical research coupled with firsthand experiences at the evangelical venues, Stevenson not only critically examines these spaces and events within their specific religious, cultural, and national contexts, but also places them within a longer devotional tradition in order to suggest how they cultivate religious belief by generating vivid, sensual, affectively oriented, and individualized experiences.

Stevenson shows how the genres analyzed function through a distinctive dramaturgy that assumes certain interpretations of representation, realism, enactment, spectatorship, and presence, in order to achieve particular aesthetic, ideological, and experiential effects. The performances don’t simply represent theological concepts and depict biblical stories, but confront users with vivid, sensual, and rhythmic experiences designed to foster embodied beliefs that will respond to specific devotional needs and desires. Employing cognitive theory and theories of affect, the author demonstrates how these performative forms effectively foster the personal and experiential aspects of American evangelicalism, thereby reinforcing core theological tenets by means of the believer-user’s body.

Sensational Devotion contributes to existing scholarship on American evangelicalism and evangelical Christian media, especially work that examines performance. The analysis builds upon existing work on performance and cognition, as well as theories of affect. The author also draws connections between contemporary Protestant forms and medieval affective culture, thereby contributing to scholarship on medieval culture and medievalism. Finally, this book responds to the growing public interest in evangelical Christianity and evangelical media generally.
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